The ETC assembled a panel of seven USC undergraduate students studying various aspects of media to share their views on media at the March 22, 2018 ETC All Members Meeting. Topics ranged from movies to TV / video, screens, and virtual reality. Here is a 6 ½-minute highlight reel.

The ETC’s Philip Lelyveld was one of five subject matter experts invited to speak before the EU’s “Preserving Democracy in the Digital Age” hearing at the European Political Strategy Centre in Brussels on February 22, 2018. The EU is working to understand and deal with the problem of ‘fake news’ and Russian interference in democratic processes in Europe. This one-day event is part of an ongoing multi-organization effort within the EU.

Philip was invited to present an outsider ‘Hollywood’ perspective. He defined ‘fake news’ as data or information that is 1) verifiably false and/or 2) partially reported and taken out of its original context in a way that distorts its original meaning. The tools to create fake news, including faking a person’s audio-visual record and adding or deleting elements within a live video feed, are advancing to the point where even experts will soon have trouble identifying what is fake versus what is real. We are moving into a ‘post-evidence’ world.

A good story captures and holds your attention and creates ‘sticky’ memories by engaging your emotions. He said that we are well on our way to developing and deploying the tools that will allow anyone to create and distribute personalised ‘sticky’ memories on a global scale. The tools don’t care whether the story is fact or fiction, true or false.

In his testimony, Philip highlighted the point that innovation is never stifled. It is only redirected by regulation, the bottom-line imperatives of business, and societal forces. The purveyors of fake news are innovators. The way to counteract their efforts is to out-play them.

It may make more sense to create a system that identifies, elevates, and rewards a bounded set of data, information, and knowledge that we can verify to be true, reliable, and undistorted, than to try to detect and react to an unbounded flow of false, distorted, and fake content, he said.

Philip suggested one possible strategy for counteracting fake news in a manner that protects democratic processes without diminishing online freedoms:

The storytelling arts and sciences have regularly evolved to keep up with the rising sophistication and expectations of our audiences. Similarly, if you are going to detect and respond to the outsider innovators and storytellers propagating targeted psychological manipulation tools including fake news, then you have to put in place technical and social processes that can also evolve to stay one step ahead of them and that contribute to helping the average citizen make informed decisions based on reliable data.

The EU will publish a transcript of all of the speakers’ comments and will draft a high-level summary document to move their internal effort forward. They would like to continue seeking the input of the ETC@USC as their effort progresses.

One immediate result of Philip’s presentation in Brussels was a meeting with Dr. Antti Sillanpaa, the Branch Chief of the NATO Strategic Communications Operation, and his team. They were in Los Angeles as part of a ‘fake news’/’Russian meddling’ fact-finding tour of the west coast. Their tour included visits to the Rand Corp, Facebook, Google, Twitter, and other companies. The team met with Philip at the ETC for an hour on February 26th. The discussion continued the following night at a dinner at the Finnish Consulate, which the ETC’s Erick Moen also attended. Dr. Antti Sillanpaa and his team were impressed with the unique ‘Hollywood’ perspective that Philip and Erick brought to the discussion and would like to loop back to them as their efforts progress.

This study leverages the Dramatic taxonomy of film narrative to infer which scene-level character and story attributes generate more box office returns, by genre. We are extending this study to ads and movie trailers.

The project researchers used machine learning to map 70+ story attributes for 300 films to their box office returns to extract which story mechanics or character features in film generated the most revenue. This was the first time granular story and character mechanics have been used to predict box office returns, which opens up many avenues to make more data-driven creative and development decisions throughout the industry.

What’s a good story? The question has been hanging without a scientific answer since the dawn of man. It seems that a story’s lack of clear mathematical structure and universal taxonomy would relegate such classification of stories to the qualitative – and highly subjective- empire of critics and … people.

Until now.

The event presented results from the research, discussed applications for the development and creative process, and outlined next steps.